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Film sans fin – exhibitions and concert-lecture in Saint-Nazaire

The Film sans fin (Film without end), the project by Ollivier Moreels and Jean-Louis Vincendeau has been developed since 2018. It is now the subject of two exhibitions in Saint-Nazaire until the end of October. On this occasion a book with images of the film and texts by Jean-Louis Vincendeau is presented.

About their project the authors say the following (text in French below):

A change of scenery through and on the territory, a device that allows for a change of scenery in thinking, experiments and the search for a “point of view” that favours the birth of a fiction. We find ourselves in surprising places, no man’s lands in the Loire region, which become potential shooting locations. Then we envisage possible escapades outside the territory if the fiction requires it.

We build as we go along tools that are barely visible for the adventure, with the constant concern of not “deflowering”, of accompanying the astonishment with minimal and delicate gestures. Places, characters and references appear in scattered order, what unites them is the sympathy of the same orphic vision of beauty that shines through in the synchronicity of a “magical” moment.

The result of these collective reveries takes shape in dreamlike pochades made up of slight shifts, slippery associations of ideas, sometimes surprising, which discreetly fit together… to constitute, in short, the “lessons of things” of gatherers.

The photographic resource that this generates seems to us to be a starting point for imagining, later on, an infinite film (Ad Vitam Æternam), for ever the film in progress, which is constructed with amateur or professional actors, visual artists and musicians in natural settings. It is written by two or more people, as they walk and meet. The theme of the encounter is central for us.

The renditions of these scenes in various combinations are an opportunity to assemble and show a stage of the film. The projection of the film, in a cinema or in an exhibition space, can give rise to concerts (ciné-concert), performances…

Ollivier Moreels and Jean-Louis Vincendeau

Exhibitions until 31 October at Sous les palmiers la plage, 8 Bd de Verdun and Les idées larges, 40 Rue Jean Jaurès in Saint-Nazaire

Saturday evening 16 October – concert-lecture at 7pm at Sous les palmiers la plage, 8 Bd de Verdun, Saint-Nazaire with Romain Hebert on guitar, loop and radio buzz; Marion Mount Kailash voice and performance; Ollivier Moreels : images and modular synthesizer; Jean-Louis Vincendeau : texts and objects.

Le dépaysement par et sur le territoire, dispositif permettant de dépayser la pensée, expériences et recherche d’un « point de vue » favorisant la naissance d’une fiction. Nous nous retrouvons dans des lieux étonnants, no man’s land du territoire ligérien qui deviennent des lieux potentiels de tournage. Puis nous envisageons des escapades possibles en dehors du territoire si la fiction l’exige.

Construire au fur et à mesure des outils à peine visibles pour l’aventure, avec le souci constant de ne pas « déflorer », d’accompagner l’étonnement par des gestes minimes et délicats. Des lieux, des personnages et des références se présentent en ordre dispersé, ce qui les réunit c’est la sympathie d’une même vision orphique de beauté transparaissant dans la synchronicité d’un instant « magique ».

Le résultat de ses rêveries à plusieurs se concrétise en des pochades oniriques faites de légers décalages, d’associations d’idées glissantes, parfois surprenantes et qui s’emboîtent discrètement…pour constituer en somme les « leçons de choses » de rassembleurs.

La ressource photographique que cela génère nous semble un point de départ, pour imaginer, par la suite un film infini (Ad Vitam Æternam), pour toujours le film en court(s), qui se construit avec des acteurs amateurs ou professionnels, des plasticiens et des musiciens dans des décors naturels. Il est écrit à deux et à plusieurs, au fur et à mesure des ballades et des rencontres. Le thème de la rencontre est pour nous central.

Les restitutions de ces scènes aux combinaisons variées, sont l’occasion d’assembler et de montrer une étape du film. La projection du film, en salle de cinéma, en lieu d’exposition peut donner lieu à des concerts (ciné-concert), des performances…

Sara Bomans in Niemand is een Eiland

‘Niemand is een eiland’ (No one is an Island) reflects the sensitive everyday connection of fauna and flora. The duality of everything that exists reinforces the fragility of that great connection. As in previous editions, the artistic content of Stadsfestival Damme grows organically around the vision of artists, writers, poets and other creative partners.

Kunstenfestival Damme presents collected stories every year. The power of the word and the power of the image play the main roles. With a combination of literature, poetry, visual art, photography, philosophy, heritage, nature and gastronomy, the Kunstenfestival Damme is an experience for young and old. Damme likes to give you time to relax, discover and meet people.

Sara Bomans takes part with her sculpture ‘what have you done’ (from the series ‘I do not’, 2021).

Sara Bomans, What have you done? (2021) acryl, sport tape, fisher price 10cm diameter

Other participating artists in the Festival are


From 24/09 12/12/21

IJsberg, Burgstraat 5, 8340 Damme (B)

Open Wednesday – Sunday from 12-6pm; Festival Pass 12€

More info in Dutch here

Kristof Vrancken – NOT IN MY BACKYARD!

An invasive alien is spreading rapidly and threatening our native species, biodiversity, and infrastructure. What can we do and how should we react? What is its impact? Can we return to a landscape free of these exotics or should we challenge our protectionist attitude? What role can we play?

Photographer Kristof Vrancken and graphic designer Niek Kosten investigate and dissect the position of the plant species Japanese knotweed in their environment. Not in my backyard! showcases a wide array of experimental work that explores various visual and imaginative strategies to relate to the issue of invasives and connect with our natural habitat as a whole. It presents a collection of rhizomatic ideas, invasive insights, and artistic interpretations adapting to a world in transformation. By renegotiating the position of the knotweed we might find a new way of living together.

An (incomplete) visual, physical & societal dissection of the (invasive alien) plant species Japanese knotweed

Authors: Kristof Vrancken & Niek Kosten
Dimensions: 17 x 23 cm
Pages: 176
Type: Paperback
Language: English
Edition: 150 — Limited, with a linocut on Notweed Paper on the cover of the book.
ISBN: 978-90-761-0115-6
Release date: 15 sept. 2021
Design: Niek Kosten
Publisher: LUCA School of Arts


  • Vonk Ateliers
    Only on September 16th (18h–23h), during Kunstennacht
    Kempische Kaai 85, Hasselt, Belgium
  • Z33
    House for Contemporary Art, Design & Architecture
    Bonnefantenstraat 1, Hasselt, Belgium

Alexandra Dementieva at Ferment

Cyfest-14: Ferment examines the theme of fermentation through the dual lenses of art and ecology. Through art installations, workshops and talks, it will explore the metamorphoses that fermentation represents.

Ferment is a collaboration with Cyfest, the biggest digital art festival in Eastern Europe, formed by Cyland, a Russian artists’ collective. The festival began in St Petersburg in 2007 and explores new forms of art and high technology interactions, exposing audiences to works in the field of robotics, video art, sound art and net art.

Alexandra Dementieva will take part in the festival with her installation Source of energy, a symbiosis light sculpture in the shape of a glucose molecule. Inside each ball are fixed LEDs matching the established standard colours of the elements hydrogen, carbon and oxygen.

The festival takes place from 17 to 26 September at the Dartington Trust in Devon, UK.

Find more info here.

Currer Bell Residency #4 – Fleur Leclère

Fleur Leclère, former student of ESADHaR Le Havre Rouen, started her residency in Saint-Nazaire earlier this year. It resulted in two specific projects dedicated to plants, one around the gorse and the other around blackberry.

Find two texts by herself and Jean-Louis Vincendeau of Currer Bell College as well as images of the work realized and shown in Saint-Nazaire.

Since the spring I have been looking forward to making summer dyes from primrose, blackberry, elderberry and other wild berries. I am attracted to the shades of colour they can produce. From my childhood I have memories of blackberry and elderberry jelly. Moments of picking, at the edge of gardens, roads, fields and abandoned barns in the village. These berries, round, fleshy and greedy, with their soft and smooth flesh, seemed to me like treasures, and the reward for the sting of brambles and the heavy heat. The warmth of the fruit and the dampness of the air and the body merged. The human body and the body of the fruit were full of water. The bounty of the flesh spread out, staining our fingers. Once this stage was over, the fruit was macerated with the sugar in the copper basin. Once the cooking stage was over, it was time for the pressing. This involved turning and pressing the cloth filled with the cooked sweet fruit to extract the liquid. An almost black juice. As it dried on the cloth, the colour faded and darkened. The most beautiful colour for me was that of the fruit being crushed by the cloth, a “hot plum”. We should be able to fix this stage for eternity.

One experience was revealing during my studies. I once had to dye a large sheet in the washing machine. While it was still wet I had created very slight shades with a brush. I had no other solution than to hang the sheet on a clothesline in a large enough yard. Thus I had confronted myself with dyeing with a brush, for the first time without a hard surface behind, feeling the softness of the fabric modified by the wind that was manipulating the sheet that day. This rather harmless experience marked me. It changed my creative routine. The moment, the circumstance, the physical gesture and above all the way of feeling differently from the known mediums, in this case textile and dyeing, sounded like a really new experience to me.

Since then I have been looking for these “dreamlike experiences”, between the known and the unknown, between comfort and discomfort, between the familiar and the strange. Starting with a small and minimal element, the gorse flower and then the blackberry, extracted from the local landscape, allows me to explore an open, poetic and imaginary landscape. I let myself go in the experimentation with the blackberry, dyeing, crushing, letting it rest, re-crushing, “painting-crushing”, “painting-painting”, “hand-wiping”. The small berry opens to an infinity of possibilities. This is how I like to work, far from the masterly, through empirical research. Thus motifs, materials, effects, colours, shapes and objects are born from the blackberry. Broom seed pods in the oblong box suggest a continuation, the germination of a future project, the seed of which is already there and already exists, because everything already exists in us.

Depuis le printemps je rêvais avec impatience, de faire l’été venu, des teintures de roses-tremières, mûres, sureaux, et autres baies sauvages. J’ai un attrait pour les nuances de couleurs qu’elles peuvent produire. De mon enfance je garde des souvenirs liés à la gelée de mûre et de sureau. Des moments de cueillette, en bordure de jardin, de route, de champ et de granges abandonnées du village. Ces baies, rondes charnues et gourmandes, à la chair douce et lisse m’apparaissaient comme des trésors, et la récompense face aux piqûres de ronces et à la chaleur pesante. Chaleur des fruits et moiteur de l’air et du corps se confondaient. Corps humain et corps du fruit gorgés d’eau. La générosité de la chair se répandait en nous colorant les doigts. Cette étape terminée, venait celle de la macération des fruits avec le sucre dans la bassine de cuivre. L’étape de cuisson terminée, venait celle du pressage. Il s’agissait de tourner et presser le torchon rempli des fruits sucrés cuits pour en extraire le liquide. Un jus presque noir. En séchant sur le torchon, la couleur ternissait et s’assombrissait. La couleur la plus belle était, pour moi, celle du fruit en train d’être écrasé par le torchon, un « prune chaud ». Il faudrait pouvoir fixer cette étape pour l’éternité. 

Une expérience a été révélatrice au cours de mes études. Une fois j’ai eu à teindre un grand drap en machine à laver. Alors qu’il était encore humide j’avais créé de très légères nuances au pinceau. Je n’avais eu d’autre solution que de tendre ce drap à une corde à linge dans une cour suffisamment grande. Ainsi je m’étais confrontée à teindre avec un pinceau, pour la première fois sans surface dure derrière, en ressentant la mollesse du tissu modifiée par le vent qui manipulait le drap ce jour là. Cette expérience assez anodine m’a marquée. Elle changeait ma « routine » de création. Le moment, l’instant, la circonstance, le geste physique et surtout la manière de ressentir différemment des médiums connus, ici le textile et la teinture, avait sonné en moi comme une expérience réellement nouvelle.

Depuis je cherche à nouveau à vivre ces « expériences oniriques », entre connu et inconnu, entre confort et inconfort, entre familier et étrange. Partir d’un élément restreint et minime, la fleur d’ajonc puis la mûre, extrait du paysage local, me permet d’explorer un paysage ouvert, poétique et imaginaire. Je me suis laissée aller dans l’expérimentation avec la mûre, teindre, écraser, laisser reposer, ré-écraser, « peindreécraser », « peindreteindre », « mainmatierer », « mainessuyer ». La petite baie ouvre à une infinité de possibilités. C’est ainsi que j’aime travailler, loin du magistral, par une recherche empirique. Ainsi motifs, matières, effets, couleurs, formes et objets sont nées de la mûre. Des gousses de graines de genêt dans la boîte oblongue laissent présumer une suite, la germination d’un futur projet, dont la graine est déjà là et existe déjà, car tout existe déjà en nous.

Fleur Leclère

During a first visit in February to discover the town and the surrounding region, Fleur Leclère discovers the Fort de l’Eve and its many gorse flowers: she decided to try a vegetable dye from these deep yellow flowers. She tries out some handkerchiefs, some of which have a pattern, and she reveals some of these patterns by embroidering over them.

On the first day of the second residency she talks about dark coloured hollyhocks and also blackberries, not to make jelly but to dye, underneath the technical aspect I sense an emotional tone. Gorse flowers in February, blackberries in September, each season has its own colour.

A meeting with a botanist leads to a walk on the Jaquet Islands: this gives us the opportunity to see and imagine a discreet aesthetic of the earth, partly resituated in the universe of perception, because, at present, we cannot see the water that surrounds them.

Fleur Leclère takes notes in a notebook, she seizes all this information to integrate it or not in her ongoing research.

Minimal discoveries such as these cilice points on the reed leaves called “devil’s teeth”, hence our remarks on the infra-thin. We walk around these two groves, through which air and light flow. Our guide knows how to read the slightest footprint on the ground and identify the most discreet bird songs.

After this discovery, Fleur’s “terrain” becomes clearer and the decisive choice is blackberry bushes. The dyeing began, including one on a good-sized sheet.

Blackberries on all sorts of supports, of various colours according to the insistence of the passages, the layers and the stirring gestures. The artist’s body is mobilised differently each time by the specific process: embroidery implies a seated position and an attentive gaze, dyeing implies positions that are most often standing.

Another encounter was important, that with a person who makes paper, from another generation, who is looking for forgotten techniques that may seem outdated but which, through their empirical research, carry a certain poetic message. She collects all kinds of plants around her house to make paper in her own way.

The presentation of Fleur Leclère’s work in progress took place in an empty room lent for the occasion by a cultural association from Trignac, the ATLC.


Un premier séjour en février pour découvrir la ville et la proche région, Fleur Leclère découvre le Fort de l’Eve et ses nombreux ajoncs en fleur : elle décide de tenter une teinture végétale à partir de ces fleurs d’un jaune profond. Elle réalise des essais sur des mouchoirs, certains de ces mouchoirs ont un motif, elle révèle certains de ces motifs en brodant par-dessus.

Le premier jour de la deuxième résidence elle parle de roses trémières de couleur sombre et aussi de mûres, non pas pour en faire de la gelée mais de la teinture, sous l’aspect technique je sens une tonalité affective. Des fleurs d’ajoncs en février, des mûres en septembre à chaque saison sa couleur. 

Une rencontre avec un botaniste débouche sur une promenade aux îles Jaquet : cela nous donne à voir et à imaginer une discrète esthétique du terrestre en partie resituée dans l’univers de la perception, car, actuellement, nous ne voyons pas l’eau qui les entoure.

Fleur Leclère prend des notes sur un carnet, elle s’empare de toutes ces informations pour les intégrer ou non dans sa recherche en cours.

Découvertes minimales comme ces points de cilice sur les feuilles de roseaux appelés « dents du diable », d’où nos remarques sur l’infra mince.  Nous tournons autour de ces deux bosquets traversés d’air et de lumière. Notre guide sait lire la moindre empreinte au sol et identifier les plus discrets chants d’oiseaux.

Retour au fort de l’Eve pour Fleur, après cette découverte son « terrain » se précise et le choix décisif se porte sur les baies de mûres. Les teintures commencent dont une sur un drap de bonne taille.

Des mûres sur toutes sortes de supports, de couleurs variées selon l’insistance des passages, des couches et des gestes de brassages. Le corps de l’artiste est mobilisé à chaque fois différemment par la démarche spécifique : la broderie implique une position assise et un regard attentif, la teinture implique des positions le plus souvent debout. 

Une autre rencontre a compté, celle avec une personne qui fabrique du papier, d’une autre génération, cette dernière recherche des techniques oubliées qui peuvent paraître dépassées mais qui par leur recherche empirique portent un certain message poétique. Elle cueille toutes sortes de végétaux autour de sa maison pour en faire du papier à sa façon.

La présentation du travail en cours de Fleur Leclère a eu lieu dans une chambre vide prêtée pour l’occasion par une association culturelle de Trignac, l’ATLC.

Jean-Louis Vincendeau

The fourteenth was purple pink, like the intimidated cheeks when a pretty girl talks to you and you try to listen to her, or at least to give the illusion that you’re not just contemplating her person, or at least her body.

The fifteenth was nacarat red, like the cherry of which I dream, held by the fine, delicate, white hand of the odalisque stretched out on her meridian looking at you.

The sixteenth was metallic fuchsia pink, as ugly as Jeff Koons’ Balloon Dog sculpture in front of the François Pinault Foundation in Venice.

The seventeenth was a deceptive pink where the pink has lost all its brilliance, which has become grey, car grey, carpet grey, dirty windows grey, architecture grey, sky grey.

The eighteenth was peachy pink, like the architectural stripes of the Grand’Mare high-rise buildings.

The nineteenth was fleshy pink, like babies that we don’t know how to carry, that seem to be lunatic to the extreme, oscillating between smiles and tears.

The twentieth was old pink, like the Jardin de Mimi patchwork with triangles of pink and green cameos that is falling apart on my chair.

The twenty-first was Mountbatten pink like the edges of the school’s playground roof.

The twenty-second was salmon pink like the box containing a whole salmon that a man was carrying on the bus this morning.

The twenty-third was future pink like the unknown but charming future.

The twenty-fourth may be scarlet like after reading this text.

Leonardo Reviews: Edgar Wind and Modern Art

In this month’s issue of Leonardo Reviews I discuss Edgar Wind and Modern Art – In Defence of Marginal Anarchy by Ben Thomas.

This publication is in more than one way a timely undertaking. Connecting it to a notion of ‘Marginal Anarchy’ certainly is. Surprisingly this is the first comprehensive study of Wind’s critique of modern art. Find the full review here.

Find my contributor page here.

Currer Bell Residency #5 – Agathe Schneider

Agathe Schneider, former student at ESADHaR Le Havre-Rouen, started her Currer Bell Residency in Saint-Nazaire this summer.

Agathe Schneider’s sensitivity to nature leads her to question the living, which she modulates, transforms and recomposes, thus questioning the links that exist between the human and his/her environment.

Schneider’s concerns revolve around our ways of living on a territory. How we build it, appropriate it, inhabit it, abandon it. Conservation practices, geology and archaeology inspire her and feed the forms she invests in.
She tries to highlight the elusive action of time on matter through her gestures, while reinventing the memory of the places she visits.

Her residency resulted for the time being in a series of small installations and a series of photographs. To be continued.

Schneider also designed the new logo for the Currer Bell College.

Installation, variable measures, Saint-Nazaire/Trignac, 2021

From rubble removed from the edge of the territory, pieces of houses, bunkers and other things, the landscape has expanded.
Branches of metal have grown to mingle with the grasses of the pampas. Mosses have covered the boulders, leaving only the slag they are set in. Seaweed and ropes merge.

Installation in five islands and details

Series of photographs, Saint-Nazaire, 2021

Jean-Louis Vincendeau, co-covenor of the Currer Bell College and organiser of the residencies, wrote the following text on the occasion of Agathe Schneider’s residency. The original French version can be found below.

The clear consistency of the rubble


Forgotten rubble of geographical feeling: thanks to her preparatory gathering for a subjective, eclectic and rigorous inventory, Agathe Schneider will tackle this question.

Why did the Greeks choose the term poiÄtÄs to designate the author of songs or ‘poems’, thus equating poetic creation with a craft or production? 

Language is experienced as it is inscribed in the body of the speaker and in the space around it. Its corporeality is one of its challenges and one of its limits: it struggles to express the body that carries it, the body from which it comes. In this respect, the polysemy of the term expression is particularly telling: it designates both the action as well as the way of seeing, speaking, and modifying all the external signs.

“It is understood that among the infinite number of possible combinations and series, the one that exists is the one by which the maximum of essence or possibility is brought into existence.” Leibniz: De rerum originatione radicali (1697)

Above the rubble, the city, its history, its urbanism, its path and its myriad of subdivisions: it is a question of reading, going through and unfolding the skein in a tightly held thread and in clear writing.

And to do this, it was proposed to visit several places, both abandoned and unused, to meet specialists and passionate scholars, to consult the archives…

Armed with all this information, impressions and notes, Agathe Schneider can propose a stage installation, a “sample shop” of sorts, in an empty room reserved for this purpose. This small room is located in a former teacher’s flat dating from 1929 and situated in the neighbouring town of Trignac.

Towards a compossible work: in order to exist, it is not enough for something to be possible, it must be compossible in close relation with others that constitute the real world.

In detached thoughts pierced by openings or semantic potentialities, Agathe Schneider allows us to illuminate several possible circuits in her installation, favouring what is lodged in the cracks and sensitive resonances.

Not just an installation but an “ostension”, a bringing into presence and a bringing into harmony. ostensionem, from ostensum, from ostendere, to show, from ob, in front of, and tendere, to stretch. The operative arrangement of objects, the unassignable adjustments according to or with a view to their possible psychic qualities, the layering of support by intuition or planned protocol.

Something did not exist before the residency: the residency offers the conditions for this thing to happen in the real world from proposals, visits, encounters that form a fertile combinatorial process that benefits both the artist in residence and the host who organises it: this fertile combinatorial process then becomes an advanced form of “possible togetherness”.

La constance claire des gravats


Gravats oubliés du sentiment géographique : grâce à sa cueillette préparatoire en vue d’un inventaire subjectif, éclectique et rigoureux, Agathe Schneider va s’atteler à cette question.

Pourquoi les Grecs ont-ils choisi le terme poiÄtÄs pour désigner l’auteur de chants ou de « poèmes », en assimilant ainsi la création poétique à un artisanat ou une production ? 

Le langage s’éprouve tout comme il s’inscrit dans le corps du locuteur et dans l’espace autour. Sa corporéité est un de ses défis et une de ses limites : il peine à dire ce corps qui le porte, ce corps d’où il provient. À cet égard, la polysémie du terme expression est particulièrement parlante : elle désigne à la fois l’action ainsi que la manière de voir, de parler, et de modifier l’ensemble des signes extérieurs.

« On comprend  que parmi l’infinité des combinaisons et des séries possibles, celle qui existe est celle par laquelle le maximum d’essence ou de possibilité est amené à exister. » Leibniz : De rerum originatione radicali (1697)

Au dessus des gravats la ville, son histoire, son urbanisme, son cheminement et sa myriade de subdivisions : il s’agit de lire, de parcourir et de déplier l’écheveau en fil tenu et en écriture claire.

Et pour ce faire il a été proposé de visiter plusieurs lieux en friches ou non, de rencontrer des spécialistes et des érudits passionnés, de consulter les archives…

Riche de toutes ces informations, impressions et notations Agathe Schneider peut proposer une installation d’étape, un « magasin d’échantillons » en quelque sorte, dans une pièce vide réservée à cet effet. Cette petite pièce est située dans un ancien appartement de fonction pour les instituteurs, datant de 1929 et située sur la commune voisine, Trignac.

Vers une œuvre compossible : pour exister il ne suffit pas que quelque chose soit possible, il faut que cette chose soit compossible en étroite relation avec d’autres qui constituent le monde réel.

En pensées détachées percées d’ouvertures ou de potentialités sémantiques, Agathe Schneider nous permet d’éclairer dans son installation plusieurs circuits possibles, privilégiant ce qui se loge dans les fissures et les résonances sensibles.

Non pas seulement une installation mais une « ostension », une mise en présence et une mise en accord. ostensionem, de ostensum, de ostendere, montrer, de ob, devant, et tendere, tendre. La disposition opératique des objets, les ajustements inassignables en fonction ou en vue de leurs possibles qualités psychiques, la mise en appui par couches intuitives ou prévues par protocole.

Quelque chose n’existait pas avant la résidence : celle-ci offre les conditions pour que cette chose advienne dans le monde réel à partir de propositions, de visites, de rencontres qui forment une combinatoire féconde et profitable autant à l’artiste en résidence qu’à l’hôte qui l’organise : cette combinatoire féconde devient dès lors une forme avancée du « possible ensemble ».

Kristof Vrancken – The Sustainable Gaze

This week I had the pleasure of finally visiting Kristof Vrancken‘s exhibition at Z33 in Hasselt.

The exhibition really wowed me – both in the intelligent use of the new extension of Z33 that has a truly international ambition, but also in the wonderful and rich overview of Vrancken’s work. Inspired by Tarkovsky’s film Stalker Vrancken uses the roles of artist, scientist and guide to explore the consequences of the Anthropocene through photography and installations.

Find a series of photos of the exhibition by Boumediene Belbachir / Z33 and Kristof Vrancken and the exhibition guide in English.

Also see the earlier announcement of the exhibition here.

The exhibition still runs until 22 August 2021 at

Z33 Bonnefantenstraat 1
3500 Hasselt (Belgium)

More practical info here.

AnneMarie Maes: Theatrum Algaerium – a durational performance with the sea

Early in the morning and late in the evening, between low and high tide, the Theatrum Algaerium rises from the sea. Metal frames hold the fluttering weeds. Glass jars fill up with seawater, their round shapes are acting like a lens and focus on the morphology of the floating algae.

Theatrum Algaerium. Posidonia oceanica [seagrass],  Ascophyllum nodosum [knotted Kelp] and Fucus serratus [toothed wrack].

Theatrum Algaerium operates on the border between sapiens and fauna. It presents possible futures in a new bio/techno/natural world, a universe that is at once terrestrial and aquatic, a prerequisite for future coexistence. In this garden of marine delights, our ecological consciousness explores the speculative time that occurs in the form of a loop. Can a human being become entangled in an erotic entwinement  with Laminaria? Do we reject or embrace the slimy substance, produced by Fucus serratus, that weaves a membrane of space-time around our bodies?  Do we experience the cooperation with organisms from the sea as transforming, regenerating, transmuting? As a possible and renewable future that meanders endlessly, drawing us into its fertile depths, revealing to us a future archaeology? Do we remain connected in a process of eternal becoming, in an energy flow of future perfection, embodying a thousand forms that lived before us? 

a durational performance with the sea
(with AnneMarie Maes, Margarita Maximova, Mieke Franquet, Erland Jacobsen)

August 5 – 2021, between 8:00/10:00 & between 20:00/22:00 at Oostende beach
Inbetween the performances: expo at Pleasure Island Pavilion 
51°13’30.3″N, 2°53’48.7″E 

Project Website: https://laminaria.annemariemaes.net
Production : Stelluti
i.s.m. Pleasure Island Oostende
with the support of the Flemish Government

Working on a new look – Travailler sur un nouveau look

This is to let you know that I will be working on the look of the website in the upcoming weeks, to make it more agile and suitable to all the demands of Bureau Doove. Of course, this process may involve some hiccups, but I hope that the final result will be successful and you will like it. See you soon!

Je vous informe que je vais travailler sur l’apparence du site dans les semaines à venir, afin de le rendre plus agile et adapté à toutes les demandes du Bureau Doove. Bien sûr, ce processus peut impliquer quelques contretemps, mais j’espère que le résultat final sera réussi et qu’il vous plaira. À bientôt !